K-Cultural Heritage 1 Page > Little Korea

K-CULTURAL HERITAGE

Everlasting Legacies of Korea

  • 2013.8.12
    Designated date
    Black-bean paste refers to a craftsman who refines sap collected from poison ivy according to its purpose and paints it on an object. Moon Jae-pil, the holder of the book, was a successor to Jeon Seong-gyu—Simbu-gil—Jeong Su-hwa, and was a student of Jeong Su-hwa (National Intangible Cultural Property No. 113 'Chiljang') since 1992 when he was taught traditional skills for lacquer tablets.

    The history of lacquer has been very long, and the techniques of lacquer and lacquerware have developed independently in Korea since the Three Kingdoms Period. The lacquer can be called antibacterial, preservative, waterproof, deodorant, anti-inflammatory and adhesive using natural materials, and the beauty and practical value of traditional lacquer crafts are widely known for their excellence.

    The raw lacquer collected from lacquer goes through a refining process that removes moisture and evenly mixes Chilsan, chlorine, and rubber to obtain transparency and gloss. Refined paint such as glossy and matte black paint, glossy and clear transparent paint can be obtained according to the refining process.

    The holder mainly uses glossy and matte black and transparent paint in his works, and faithfully inherits traditional techniques, including the well-equipped traditional materials and tools needed for lacquer purification. With his active work, he has won a number of awards, including the Korean Traditional Craft Industry Promotion Association President Award (2001) and the National Craft Competition.

    The holder was designated as an intangible cultural asset of Chungcheongnam-do in recognition of the value of preservation of traditional lacquer crafts, as well as the clear transmission of the genealogy and the conditions of transmission to the next generation.
  • 2004.10.4
    designated date
    Main growth refers to a craftsman with casting technology who melts iron into a mold to make the desired items. During the Joseon Dynasty, the main growth was centered on light factories where weapons and metal types were made at military bases and main bases. When the factory plan was abolished after the reign of King Yeongjo and King Jeongjo, a private owner of the company emerged from the 17th century. They were responsible for the demand for Buddhist bells, vaults, incense burners, shrines, and runners, and from the 19th century, they gradually declined. Later, during the Korean Empire, the main growth was almost cut off, but rather, Japanese colonial era gradually revived due to increased demand for castings due to the production of military supplies.

    Park Han-jong, the main growth function holder, entered the main growth business at the age of 16 and has a long career of about 50 years. The main growth of the Busan area is said to have originated from Kim Seok-gon, the main growth engine of Busan, who founded Beomjongsa Temple in Japanese colonial era. Kim Seok-gon's master craft led to Kim Kwae-jae, who was active in the early 20th century, and Kim Seok-jeong, who ran Cheongjongsa Temple, and Park Han-jong received the master craft from the two men. Since 1987, he has inherited his master, Kim Seok-jeong's Jujong Workshop and renamed it Hongjongsa.

    In the meantime, 200 households with less than 1,000 pipes and 10 households with more than 2,000 pipes were selected. Some of the more than 2,000 representative works include Daebeomjong (1991), Daebeomjong (1996), Busan Citizens' Bell (1999), Gimcheon Citizens' Daejong (1999), Shin Eo Beomjong (2001), and Bongnyeongsa (2002) in Suwon.

    Park Han-jong's method of casting the bronze bell is based on the traditional Korean technique of casting death penalty, in which half of the life-long sections are modeled and the molds of the inner and outer shapes are constructed and cast separately using a huge rotating shaft. Moreover, the precision casting technique of the Sangwonsa Temple, which was not clear about manufacturing techniques, was reproduced in the traditional way of casting death, allowing it to inherit the mystique of the Korean species, which is highly praised for its excellent sound and pattern beauty.
  • 2002.10.25
    designated date
    Fraud means a person or a person who makes a bowl form by mixing white clay, etc., and then makes a bowl baked at a high temperature of 1300°C or higher.

    In the late Joseon Dynasty, when government-controlled ceramics were closed, potters scattered across the country, and folk songs (where ceramics are made in the private sector) flourished in the provinces.

    Banggok-ri, Daegang-myeon, is also widely known as one of the places where folk pottery was produced during the Joseon Dynasty, and potters who are still making traditional pottery are still active.

    In particular, Seo Dong-gyu, a functional holder, was born and raised there and has been devoted to making starch. In the early days, tea cups centered on Dawan were well received by Japanese favorite artists, and melodies were reproduced using natural yuak.

    Banggok-ri Melting has a unique characteristic that it does not spoil, cool quickly, and does not stick to the fat.

    In addition, the intense lines, majestic shapes, and delicate yet soft droplets that appear during baking in a pine fire kiln are aesthetic expressions that no one can imitate.

    The production process is as follows.

    1 Prepare to remove firewood with pine trees directly removed from Hwangjeongsan Mountain

    2 Mud mixing (making sand soil) with soil enriched with granite

    3 Digging the sand and putting it in the water

    4 Rinse out the water a few times

    5 Drying soil

    6 To knead and knead dry earth

    7 Molding on a dough spinning wheel

    8 Use fire above 900°C for 3 hours

    9 Apply glaze made of lye (because it is fragile)

    10 Cooking glazed bowls for 16 hours on a light fire

    11 Applying ashes to burn elm trees



    * Functional holder Seo Dong-gyu

    Seo Dong-gyu was born in Danyang, North Chungcheong Province, in 1938 and entered Banggok pottery in 1956. Starting with the Gyeonggi-do Folk Art Competition, he will participate in various exhibitions, including the Dong-A Art Festival's entry into the craft section, the Korea Art Exhibition's special selection of the craft section, the Korea National Exhibition, the Korean Traditional Ceramics Exhibition at the Hawaii Invitation Hall in the U.S., and the Tokyo Exhibition in Japan.

    In 2000, he was awarded the Minister of Labor's Commendation, and in 2001, he was awarded the Prime Minister's Commendation. By 2002, he was selected as Chungbuk Intangible Cultural Property No. 10. His family has made pottery since his grandfather's unit, and Seo Dong-gyu has been making pottery for three generations.
  • 2013.10.25
    designated date
    Park Ae Sook

    - 2001 Presidential Prize for the 11th Gimhae National Night Competition
    - 2003 3rd World Art Exchange Association National Culture and Arts Award for Gugak
    - 2011 North Jeolla Province Governor's Letter of Commendation
  • 2017.11.2
    designated date
    Byeorujang refers to a craftsman who has the skill or function of making a inkstone.

    Yoo Gil-hoon (born 1949, 68 years old) began his career in March 1967 under the late Kim In-soo, the master of the Sangsan Dam in Jincheon, North Chungcheong Province. He worked at the foot of Mt. Duta in Cheongju, where the material of the inkstone was made, and came down to Gyeongju in 1993 to find a better one. In 2001, he found the best one in the Bangudae area of Eonyang-eup and settled in the current workshop and has been making the inkstone for 15 years.

    Eonyang inkstone is two types of yellowish and dark red, and is widely used as a type of inkstone, spspan class='xml2' onmouseover='up2(3733)'onmouseout='dn2()'dn2())spspspan>pan>g>g 강g 강gayobos(s 흑 흑 흑((((((((((((()))))(((())((()))))))))))))))))))))))) This compares with China's spspan class='xml2' onmouseover='up2(1057)' onmouseout='dn2()'dn2()단계단계단계단계단계단계단계단계단계단계단계단계, which is slightly lighter than the red phase and stronger than the green phase. It is said that the particles of the stone are not murky, the ground ink is not permeated by the stone, and the writing is glossy. It is often said that a stele can be eaten with breath, but this can be done with Eonyang inkstone.

    The tools for making inkstone include hammer, chisel, gumegae, furry, saw, push, carving, abrasive stone, sandpaper, lacquer, etc. The inkstone work is carried out in the stage of collecting stones →Wonseok Foundation→Sangsaing→Painting밑Painting조각Painting→Painting→Painting조각Gwangtaeking. Yoo Gil-hoon has a number of traditional tools that have been used since the late Kim In-soo's apprenticeship, and is still using traditional tools in the entire process from roughing to finishing after collecting the stone.

    Yu Gil-hoon's inkstone inherited the tradition of the Sangsan Bamboo in Jincheon, and Yeonsu ( 부분: the grinding part of the food) was dug a little deep so that if it stopped, the ink would be concentrated in the middle, and if possible, the lotus paper (where water was stored) would not contain any carving or patterns. This is because if you put a pattern here, there will be food scraps between the pieces and the patterns. Also, the surface of the surface is not angled as much as possible and is shaped like a circle or curve, which is also to prevent any ink residue from getting stuck in the corners. In addition, the pancake of the inkstone was cut in half into bamboo so that the ink could flow inside without overflowing.

    The representative patterns of Yoo Gil-hoon's inkstone are various, including the dragon, phoenix, hawk, egg, soup, porridge, Ten Jangsaeng, grape, painting, Ilwolyeon, and Sansuyeon, which are related to Ulsan or Bangudae. The size of the inkstone is usually about 40 to 60 centimeters, and it is characterized by a large realistic and three-dimensional pattern. Also, the shape of Danyang Bamboo in Danyang-gun, North Chungcheong Province, which uses "span class='xml2' onmouseover='up2 (4394)' onmouseout='dn2()((sp magnets using magnets such as </span>, has a three-dimensional lid, compared to the fact that it emphasizes decorative beauty.
  • 2001.11.5
    designated date
    A ranch refers to a craftsman who builds a house. It was also called a carpenter or ranch, and among them, a master craftsman who was responsible for the overall work was referred to as a potter or a potter. In Korea, wooden houses were developed with wood that were easily found in large forests, and palaces and temples were also built with trees. Therefore, the carpenter's job to handle trees was very useful.

    In "Gyeongguk Daejeon," it was recorded as a ranch without distinction between a ranch and a small ranch, but during the Goryeo Dynasty, there were two separate areas for building houses and weaving furniture. As the carpenter's work was complicated, he organized a systematized organization according to his duties. Under Dogyeonsu, which was in charge of the overall control of the entire building, there were several auxiliary pieces and pyeons and pyeons. The pyeons and wooden pyeons helped to cut and hang rafters in each process, including columns and beams, and roof structure. In addition to building the house, the wooden-floored ranch for weaving door frames, the stone yard for laying on ondol, the ni-jang for finishing the wall, and the Jehu and Bunwa-jang for making tiles and connecting the roof are long as each of their responsibilities.

    It was the purification of the technology culture that was completed through close collaboration. In particular, the traditional burial ground's ability to complete a house with a simple number and columns without any detailed drawings is amazing.

    The ranch includes the late Bae Hee-han, the late Lee Kwang-kyu, the late Ko Taek-young and Shin Eung-soo, Jeon Heung-soo and Choi Ki-young, who were designated as national intangible cultural assets, and several craftsmen are also working in the provinces through their respective transmission systems. Gyeonggi-do Provincial Government is a master of the ranch, and Jang Hyo-soon (born 1939) was designated as No. 36 in 2001.
  • 2001.12.20
    designated date
    Darye is a rite of courtesy to give tea to a person or a Buddhist monk, and although it is a royal tea ceremony, it is a tea ceremony for oil prices, impossibility, and family members.

    It is not known exactly when tea, also written as Myeong or Cheon, began to be consumed as a drink.In The History of the Three Kingdoms, the tea was from Queen Seondeok.A record of ' indicates that he drank tea at least in the 7th century.

    In addition, in 828 (the third year of King Heungdeok's reign), " Chinese tea tree seeds were brought in and planted on Mount Jiri to meet the growing demand.There's a record of ."In <The History of the Three Kingdoms>, a tea ceremony was held at the Jongmyo Shrine of Gaya during the reign of King Munmu of Silla in 661, along with rice cakes and fruits.The record of " shows that he drank as a symbol.

    The royal tea ceremony of the Goryeo Dynasty was held during the royal ceremony of Taehu, Taeja's Book Peak, Wonja's Birth, and Taeja's Birthday. The record of tea served by the princess when she was married is shown in "Goryosa".

    The royal tea ceremonies and royal tea ceremonies of the Joseon Dynasty can be divided into the tea ceremonies for envoys and royal families. Hwagang was a lecture on scripture and fraud by gathering the management and empty guests of the teacher and Si Gangwon, and the records of his tea ceremony are shown in the Annals of King Sejong. The ceremony was held in Taepyeonggwan, Sajeongjeon, Injeongjeon, and Myeongnyundang until King Gojong's reign, in which the king or prince served tea to Chinese envoys.

    A brief introduction to the procedures of Kim Eui-jeong's private reception is as follows.

    The king's chair shall be installed on the west wall, the envoy's chair shall be installed facing west on the east wall, and the north side shall be installed on the north wall.The king and the envoy take their seats after the town.One person to remove the sandal is to stand on the west side, while another person is to stand on the west side with a tray of tea and tea.The two saon remove a tray of fruit, one facing south to the right of the Jeongsa Temple, and one facing north to the left of the adverb.

    The manufacturer stands facing north on the right side of the king with a tray of fruit, and when the king takes a cup of tea and removes it, he follows the tea and sits down and raises it to the king, the king rises up from the chair, stands up a little, and stands up a little, and the Sashindo stands up a little, and stands a little forward. The king takes a cup of tea and goes to Jeongsa Temple and hands the tea. A political affairs officer receives a bell and gives it to a Tong temporarily. The manufacturer takes the tea with a teacup again and hands it to the vice president.When an adverb receives a teacup, he retreats a little bit, and the manufacturer picks up the tea with the cup and puts it on the official, and Jeong-sa holds the teacup and goes out to the king and raises the tea. At this time, the manufacturing industry moves westward and kneels north.

    When the king holds the teacup, the Tong puts the teacup on the Zheng and the King sits on the chair and drinks tea. He goes before the king of the making and knelt down, receives a cup of tea, and leaves it on a tea tray. For the removal of the Monk stands and puts fruit on the envoy, and the Emperor kneels down and puts the king's fruit on the table. When I'm done, I'll take the tray out.

    The tools used in royal tea ceremonies include 湯罐 (a kettle for boiling tea), 茶罐 (a kettle for brewing tea), 茶罐 (a bowl for cooling water), tea cups, cup stands, , (a bowl for cooling water), teaspoons, tea pots, tea towels, tea bottles, and water pumps.

    On December 20, 2001 been recognition of activity as holder of the gimuijeong.

    ※For more information on the above cultural assets, please contact the Seoul Metropolitan Government Department of Historical and Cultural Heritage (☎02-2133-2616).
  • 2006.12.27
    designated date
    Muan Sangdongdeul Song is one of the wild songs that represent the Yeongsangang River basin, which is sung during village collaboration such as mochi, rice planting, rice paddies, and pungjang.

    Muan Sangdong's wild song is a song that is passed down in the Yeongsangang River basin 'Gansori Kwon'. As a wild song representing the Yeongsangang River basin, the systematic composition stands out.

    The composition of mochi-sori-sori-sori-sori-sori-sori-모sound<잦)sound--논sori상-논sori긴-<sori--<sori--<sori--긴sori--풍sori 보여준다-풍sori 보여준다 shows systematic perfection.

    Among these songs, "Mu Sam Sori" and "Gansori" especially show the characteristics of the long and well-formed wild songs in the Yeongsangang River basin. Sangdong's wild song contains the dynamic of a long, powerful, and strong male labor song.

    The Muan Sang-dong Song Preservation Society is a community organization that teaches wild songs in Sangdong Village, and has been performing various performances, including winning the 28th Namdo Cultural Festival's Best Award for Best Performance (2001) and the 43rd Korean Folk Arts Festival's Achievement Award (2002).

    Since childhood, Ko has learned wild songs naturally in the process of working with local adults in the fields. In particular, I learned from what Ko Jae-sik and Ko Jong-seok did. At that time, adults said, "Send to the battlefield," so they sent rice paddies from other rice paddies to sing songs, which naturally led to the development of the singer's ability.

    Like a farmer who has worked in the fields all his life, Ko Yun-seok is well aware of the agricultural culture behind the wild songs. And it is evaluated that it has good wood composition and strength, so it sings the sound of the front properly.
  • 2017.1.6
    designated date
    Kim Jong Yeon

    Grand Prize in the 15th Jeollabuk-do Craft Competition in 1992

    1992 Special Selection for the 22nd National Craft Competition

    2001 Grand Prize in the 33rd Jeollabuk-do Art Exhibition

    2011 Korean Master of Arts No. 518, Woodcraft
  • 2006.3.20
    designated date
    ☆During the process of making furniture, a state made of wood, which is a step before painting or carving, is called "baekgol." For example, soban(small portable dining table) in this state is called Baekgol Soban, and the house without dancheong is called Baekgol jip(house).

    Paint this baekgol and decorate it with a najeon(mother-of-pearl) or sculpture to complete the furniture. It is the same as the bare face before the decoration, and although there are many fields such as najeon, blacksmith, and hwagakjang, the white-gallows are rare.

    Baekgol furniture is shaped after selecting, trimming, and weaving good wood. To soften the surface of the furniture, polish it with wax and rub it with fishskin. And perillaize the entire surface.

    Kim Eui-yong, the holder of the function, came to Seoul at 15 and learned how to make furniture from Min Jong-tae, a former holder of intangible cultural assets in Seoul, and later worked at Sohn Dae-hyun's workshop. He has been making baekgol furniture for about 50 years and has tried to make it more practical by adding modern techniques to the way drawers are put in and out, and opening and closing doors.

    Kim Eui-yong worked on the Najeon mural in Incheon International Airport's VIP room in 2000, and won the grand prize at the Gyeonggi Provincial Craft Competition in 2001.
  • 2003.3.21
    designated date
    ☆Since prehistoric times, lacquer has been widely used in Korea, China, and Japan as natural paint. The lacquer is characterized by its long-lasting use and harmless to the human body by compensating for cracks and burst defects when applied to wood tools and preventing water ingress.

    The process of making lacquer crafts can be divided into the process of painting and the process of attaching and finishing the lacquerware, which refers to craftsmen who mainly work on lacquer to produce clean surfaces.

    A beautiful and solid painting not only makes it a great artifact by itself, but also enables the use of decorative techniques such as najeon and painting.

    From 1979 to 1987, Kim Sang-soo was awarded the certificate for cultural property repair in 1999 after being taught by the late Kim Tae-hee, the 10th Important Intangible Cultural Property, and won the grand prize at the Korea Chil Crafts Competition in 2001.
  • 2003.3.21
    designated date
    Since prehistoric times, lacquer has been widely used in Korea, China, and Japan as natural paint. The lacquer is characterized by its long-lasting use and harmless to the human body by compensating for cracks and burst defects when applied to wood tools and preventing water ingress.

    Najeon lacquerware is a craft made from conch, abalone, shellfish, etc. on a lacquer surface, and is a representative artifact of Korean people with a well-coordinated lacquer, which boasts a colorful natural color and a subtle gloss.

    Park Gwi-rae was awarded the Silver Prize in the field of Najeon Chilgi at the National Skills Competition in 1998 and won the gold prize at the 26th Korea Victory Crafts Competition in 2001 after receiving a master's degree from Lee Hyung-man (Important Intangible Cultural Property No. 10 Najeonjang) in 1977.
  • 1975.5.3
    designated date
    Jongmyo, in Seoul, is a royal shrine where the mortuary tablets of deceased royal couples are kept, and is an important site symbolizing the fundamentals of the existence of a state along with Sajikdan Altar, which is the altar for the national soil and grain ceremonies. The regular ancestral rituals were held at Jongmyo in the first month of each season, i.e. January, April, July, and October, while extraordinary rituals were held on special occasions. Since 1945, the ritual has been held only once a year, on the first Sunday of May. The ritual is held in a solemn atmosphere.

    The ritual is carried out in a way so as to entertain the spirits of the dead royal ancestors. The procedure for the ritual is as follows: Chwiwi (placing of ancestral tablets), Yeongsin (greeting the spirits), Haengsinnarye (King's obeisance to ancestral tablets), Jinchan (presenting the spirits with food), Choheollye (first obeisance), Aheollye (second obeisance), Jongheollye (last obeisance), Eumbongnye (partaking of sacrificial food), Cheolbyeondu (overturing of ritual dishes), Mangnyo (incineration of prayers). The King had to behave discreetly for four days and keep his body clean for three days before the ritual.

    Jongmyo Jerye featured grandeur and solemnity as a ritual that set an example for the people of a Confucian society that attached particular importance to etiquette.

    The ritual, along with the music associated with it (Important Intangible Cultural Heritage No.1), was registered with UNESCO in the Representative List of the Intangible Cultural Heritages of Humanity in May 2001.